• 한국의류학회지
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• 제47권3호
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• pp.459-474
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• 2023

Contemporary fashion criticism tends to rely solely on the established art criticism process without consideration of the distinctive characteristics of fashion. Thus, this study aims to reveal the unique roles and characteristics of fashion criticism by recognizing it as an independent field in contemporary art with its own social significance. This study will first apply traditional art criticism models to analyze and explore contemporary fashion criticism's empirical content before uncovering the uniqueness of contemporary fashion criticism by content analysis. Contemporary fashion criticism discusses not just physical objects but various topics and ideas, as well. Accordingly, the existing criticism model was modified in this study to fit contemporary fashion criticism and organized into five stages: description of historical fashion, form description, external evaluation, interpretation, and internal evaluation. Commerciality, the human body, coordination, the critic's individuality, trends, and fashion-related persons were identified as key factors of contemporary fashion criticism's uniqueness. In conclusion, rather than build a single contemporary fashion model, this study found it more effective to create individual fashion criticism models suitable for detailed fields, as these enable the discussion of multifaceted topics in the fashion field. This study is expected to serve a meaningful guide for the fashion discourses.

• 조형예술학연구
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• 제2권
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• 한국언론정보학보
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• 제64권
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• pp.59-84
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• 2013

국내 방송에서는 유일한 미디어 상호비평 목적의 고정편성 프로그램 KBS <미디어비평>이 방송 10년을 맞았다. 본 연구에서는 <미디어비평>의 지난 10년 간 방송분의 비평대상과 내용, 비평의 근거, 문제의 귀인 방식을 방송 꼭지 단위로 분석하였다. 분석의 목적은 첫째, 메타비평의 형식으로 지난 10년 간 우리 언론의 문제점을 도출하고, 둘째, 경영진의 변화에 따라 실제로 비평의 대상과 비평초점, 프로그램 내용 등에 차이가 있는지를 규명하는 것이었다. 분석 결과, 10년 간 <미디어비평>은 정파적 성향에 기인한 편파보도와 불공정성, 피상적 보도와 받아쓰기 관행 등을 우리 언론의 문제점으로 빈번하게 지적한 것으로 나타났다. 또 정권교체에 따른 경영진의 변화는 비평대상과 초점에도 영향을 미쳐, 방송 초기에는 보수언론을 대상으로 보도의 편파성 불공정성에 대해 주로 문제를 제기한 반면, 경영진 교체 이후에는 언론의 상업성에 기인한 과장?선정성과 정보원에 대한 피상적 받아쓰기에 주목 비평한 것으로 분석되었다.

• 인문언어
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• 제1권2호
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• pp.141-158
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• 2001

Criticism of today finds itself in an awkward situation, for it is now being transformed in the same way that literature and the arts were transformed by the avant-garde movements at the end of the 19th century and the beginning of the 20th century. It is characterized predominantly by a break with harmony and with the values of realism. As such, it is driven by a post-modem ethos, an artistic, social, and cultural phenomenon that veers toward open, fragmentary, and indeterminate forms. In this paper, I examine today's most urgent social and cultural issues with reference to artistic production and criticism, in order to illuminate the true nature of criticism. The outstanding questions in the world of art criticism are given in five categories: the lack of critical reality in argumentative criticism; the problem of artistic and literary production in global capitalism; the artistic mind and its consciousness of socio-historical ideology; anxiety of the rise of cyberjournalistic criticism; and the question of subordination to western systems in the field of interpretation and criticism. For my analysis, I have tried to formulate a three-dimensional critique structure that will help us organize the relationships between the points of argument: 1) criticism as a creative force behind the artist; 2) criticism as critique of artistic production; and 3) criticism as critique of other critics. This multi-layered structure will be appropriate to our task of interpretation and evaluation, as the proposed complex structure of criticism will be able to embrace the diverse aspects of our problematic argument. In the final analysis, my argument resolves itself into a question of art, more specifically into a question of criticism as a protective device of art in an age threatened by globalization and cultural monopolization.

• 대한가정학회지
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• 제44권11호
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• pp.35-42
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• 2006

A criticism model for dress was developed to offer a methodological insight into research on aesthetics of dress. Concepts from Edmund B. Feldman's art criticism model, James D. Carney's style-relative model of art criticism, and Sung Bok Kim's fashion criticism model were borrowed and integrated to create a criticism model for dress, comprising identification of styles, descriptive features, aesthetic value features, external interpretation, socio-cultural interpretation, and evaluation. Both inductive and deductive approaches for the identification of styles can be made in the process of dress criticism. In the former case, descriptive features and aesthetic features are sequentially identified to locate the styles of dress. In the latter case, styles are identified first, and descriptive features and aesthetic features are identified accordingly. Logical criticisms can be made based on the critics' background knowledge of the history of dress and art.

• 한국실내디자인학회논문집
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• 제29호
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• pp.112-119
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• 2001

In general, the definition of criticism is making a constructive analysis between good & evil, right & wrong, and beauty & ugliness. Just as the literature, art, music, and architecture welcomes productive criticism in order for further advancement in each professional field, constructive criticism in the field of interior architecture must be activated stance it would be as useful as in other fields to upgrade the level of design quality If the constructive criticism were to be taken properly in the benefit of further advancement in particular design, then the criticism must hale a proper criteria in order to examine and review the design work objectively However, as the design symbolizes cultural interpretation and reaction towards better creativity, we expect design to be mutated in many different directions. As the limit of Interior architecture shares limitless possibilities in today's society, it seems that we need to set up a guidelines of design criticism in order to support the further development of the area of interior architecture.

• 한국의류학회지
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• 제40권3호
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• pp.437-455
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• 2016

This paper proposes a multi-disciplinary approach for fashion criticism in museology through an analysis of the 2014 Charles James's retrospective. It includes the following elicitations. First, it explores a critical discussion of "dress museology" as well as "fashion museology" and the complexity of fashion in museums. Second, this paper reorganizes Fleming's (1974) artifact study and Crane and Bovone's (2006) critical theory for fashion criticism in museology by comparing "object-based" research with an "academic" approach. Third, it applies fashion criticism methodology as a case study to the aforementioned museum fashion exhibit, entitled . We can subsequently begin to reconsider concepts of art and fashion within present culture based on inclusive fashion criticism of aesthetic and cultural events.

• 한국콘텐츠학회논문지
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• 제17권3호
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• pp.150-161
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• 2017

연상호 감독의 단편 애니메이션 <창, 2012>은 군의 폭력성을 드러내는 시사고발 내용으로 많은 이들의 공감과 성찰을 유도하였다. 이는, 사회고발적 주제를 통해 오락성이 아닌 공익을 위한 애니메이션의 사회적 가치의 가능성을 보여준다 하겠다. 이에, 본 연구는 애니메이션을 통해 시사고발 영화 기능이 어떻게 구현되는지 서사적 구성과 연출 특성에 대해 살펴보는 것을 목적으로 한다. 이를 위한 연구의 전개는 첫째, 문헌과 사례를 중심으로 시사고발 영화의 의의와 일반적 특성에 대해 고찰한다. 둘째, 앞선 문헌연구를 바탕으로 분석기준을 도출하고, 셋째, 애니메이션 단편 영화 <창>에 대해 시사고발적 기능, 연출적 특성, 애니메이션 표현기법을 중심으로 사례연구를 진행한다. 본 연구를 통해 <창, 2012>은 군내부의 위계적, 폐쇄적 특성으로 인해 역사적, 사회적 이슈를 다루는 일반 시사고발 영화와는 다른 특성이 드러났으며, 또한, 연상호 감독의 독창적인 서사적, 연출적 기법이 애니메이션을 통해 시사고발기능을 효과적으로 구현함을 알 수 있다.

• Human Ecology Research
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• 제55권6호
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• pp.637-648
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• 2017

This study examined the moderating effect of self-forgiveness on the relationship between self-criticism and social anxiety among male and female college students. This study included 441 college students (211 male and 230 female students) with an average age of 22.2. Pearson correlation analysis and hierarchical regression analysis were conducted. As a result, the moderating effect of self-forgiveness on the relationship between self-criticism and social anxiety was significant for male students. A higher level of self-criticism tended to result in a higher level of social anxiety that was strengthened in the group of lower level of self-forgiveness versus a tendency for self-criticism to increase male social anxiety was weaker in the group with a higher level of self-forgiveness. However, the moderating effect of self-forgiveness was not significant in female students and only the main effect of self-criticism on social anxiety was significant. The results provide a basis to understand the psychological processes of social anxiety in college students. The results suggest the necessity to intervene and strengthen self-forgiveness as a protective factor to alleviate the negative effects of self-blame on social anxiety in male college students.

• 대한수학교육학회지:학교수학
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• 제11권4호
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• pp.583-605
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• 2009

본 연구에서는 11명의 초등학교 현직 교사들이 작성한 수학 수업 비평문을 분석하여 수업 비평의 전반적인 특징과 수학 수업 비평의 주요 측면을 조사하였다. 본 연구의 결과, 초등학교 교사들은 수업을 있는 그대로 이해하고 기술하는 동시에 수업을 비평하였으며, 교사들의 수학 수업 비평은 상황적이고 맥락적이고 교과 특수적인 것으로 나타났다. 또한, 초등학교 교사들이 수학 수업 비평에서 주로 주목하는 측면은 수학적 의사소통, 학생들의 수학적 사고 활성화를 위한 교사의 발문, 과제 제시의 적절성, 학생들의 동기 유발, 학생들의 인지 수준에 적합한 구체적 조작 활동, 교사의 수학적 용어 사용 및 수학적 행동의 적절성, 귀납적 추론 경험 제공 등으로 나타났다. 한편, 본 연구를 통해 수업 비평이 현직 교사들에게 갖는 의미를 파악할 수 있었다. 본 연구에 참여한 교사들은 수업을 비평하면서 자신의 수업을 성찰하였으며, 보여주기 위한 수업이 아닌 일상적인 수업의 관찰 및 비평의 의의와 필요성을 지적하였다.